Joanna McMann, Assistant Conservator at the Prince of Wales Northern Heritage Centre, was incredibly busy in Montreal, presenting two talks at the Book and Paper specialty session! This presentation outlined the work completed for the Spadina Museum in Toronto, Ontario. The historic house museum opened in 1984, and has been the subject of restoration treatment previously, as presented in the 2011 CAC-ACCR conference in Winnipeg: https://www.cac-accr.ca/files/pdf/e-cac-conference-2011.pdf (see page 20 for the abstract of “Wallpaper Reproduction Goes Digital”).
The 1912-1913 third floor servants’ hallway had not been restored, and the floral-patterned wallpaper’s in situ stabilization was McMann’s goal. There were a number of condition issues including losses, abrasions, delamination of wallpaper from the wall, water staining, tearing, and significant soot, dust, and grime, resulting from the area being used as a storage space. The wallpaper’s paper substrate was pulpy and weak, and its media was water-soluble. McMann found that a modified technique of the full-scale digital printing previously used was necessary to complete the conservation project in the short timeframe of the month of December. There was 500 square feet of wallpaper requiring treatment, requiring a specific coding system to map the damage efficiently.
Surface cleaning was completed using goat-hair brushes and latex-free makeup sponges. The fragments were carefully cleaned, and cracks were cleaned with the makeup sponges and Absorene chemical absorbing sponges. McMann remarked on the effectiveness of this, allowing the cracks to recede into the overall aesthetic of the wall.
Delaminated wallpaper was re-adhered to the wall with a very dry wheat starch paste, gouges were pulp-filled, smoothed, and toned, and if necessary, damaged plaster was filled.
Losses were divided by size, so that medium – large losses were filled with the digitally printed reproduction papers, and small losses were filled with papers that were toned with watercolour. Using this coding system, more than 600 infills and 63 losses/abrasions were completed and treated! Three rounds of proofing were used to produce a quality output of the reproductive wallpaper paper, and the printed paper was split mechanically while damp as the reproduction paper was thick overall and chamfering was not possible. All fills were first done with toned Japanese tissue, in order to ensure a sympathetic colour if abrasions were to occur again, as the area will remain used as storage space after stabilization. The large losses required precise alignment before they were trimmed, and a combination of methyl cellulose and wheat starch paste was used to adhere and to allow for some slip during alignment.
Final toning was done using acrylics and a number of different light sources, to ensure compatibility to the viewer.
McMann presented the challenges and problem-solving techniques needed for the completion of the project to the very interested audience. She guided us through the stabilization of the servants’ area, noting its imortance to the Spadina (Spa-deenah or Spa-dinah depending on your class status in the nineteenth century!) Museum, as they have gained the title of being “Toronto’s Downton Abbey” and have exhibited costumes from the popular BBC drama.
Category: Conferences, Courses, Workshops & Seminars
44th Annual Meeting – Photographic Materials Session, May 16, “Photochromatic Images of Edmond Becquerel: Where do the colours come from? Tracks in the understanding of the origin of their colours.” by Dr. Marie-Angélique Languille, Edouard de Saint-Ours, Jean-Marc Frigerio, and Christine Andraud
Edouard de Saint-Ours clearly described the fascinating work he and his colleagues have done to identify the source of the colors in one of the earliest color photographic processes. In 1848 Edmond Becquerel successfully produced a color photographic image, but himself was unable to identify the cause of the colors. The discovery of several of his early plates in the archives at the National Museum of Natural History in Paris sparked Edouard and his colleagues’ interest in Becquerel’s process and the source of his colors.
Edouard began by explaining the two known ways in which color can be produced in photography: through the use of colorants, or through the production of interference colors. It was assumed that Becquerel had been relying on one of these two types of color, and the research team focused on methods of analysis that would identify either of these two methods of producing color.
Becquerel’s photochromatic images were made by dispersing sunlight through a prism for several hours, exposing the plate in camera to form a direct positive. The images were not fixed, and will fade if exposed to light. In order to understand the physical and chemical composition of the Becquerel plate, Edouard and his colleagues replicated the technique themselves. To make a photochromatic image a silver plate was polished and cleaned, and sensitized by immersion in copper chloride, or by hydrolysis in a bath of hydrochloric acid. The latter is referred to as an electrochemically sensitized plate. Once sensitized, the plate takes on a red-brown hue. In the replication of the process the plates were exposed to a Xenon lamp with colored filters, and the colors produced on the plate corresponded to the color of the light.
Once they had replicated the technique, they set about studying their sample plates in order to identify the cause of the colors they had produced. SEM analysis and cross-sectional analysis showed that there were no surface or structural differences between the different colors. Although this suggested against interferential colors, it did not rule out the possibility entirely.
SEM-EDX offered the researchers more information about the chemical composition of the different colors, but also indicated no difference between the green and red colors on the sample plate. Both were almost entirely comprised of silver chloride. However, Edouard mentioned the very interesting possibility that very small variations in the proportion of silver could cause different sizes of silver nanoparticles to form on the plates. In this scenario, a different size of nanoparticle would form from each color of light, and the color of the silver nanoparticles would vary depending on their size.
From this hypothesis, the researchers performed spectroscopic analysis of the colored surfaces, a technique which can detect the chemical state of an element. However, this analysis showed only oxidized silver on all colors, with no indication of difference between colors, or the presence of metallic silver. Again, this suggests against the presence of silver nanoparticles, but does not definitively rule out that possibility.
Although the project has not returned any definitive results, the research is ongoing. In the meantime, the work has cast light on the complexity of Becquerel’s early process, and the intriguing questions still presented by early color photography.
Arsenic and Old Lace: Controlling Hazardous Collection Materials
Are there hazardous materials in your collection, but you don’t know what to do with them? Or do you think you might have problem materials lurking in your collection that you don’t even know about? Learn how to handle these problems – join us May 3, 1:30 ET for our next free Connecting to Collections Care webinar. Register olnine at: http://www.connectingtocollections.org/arsenic-and-old-lace-controlling-hazardous-collection-materials/
Connecting to Collections Care (www.connectingtocollections.org), a program of the Foundation of the American Institute for Conservation, provides free collections care training and resources for smaller-sized cultural organizations.
Conference Review – Subliming Surfaces: Volatile Binding Media in Heritage Conservation
This review was written by Tony Sigel, Conservator of Objects and Sculpture, Harvard Art Museums and originally published in ICOM-CC Scientific Research Working Group Newsletter, Vol. 1, No.1, 2015. It is posted here with permission of the author.
April 15–16, 2015
Cambridge, United Kingdom
Organized by the University of Cambridge Museums, this conference provided the first opportunity for the profession to gather, share papers and posters, and discuss volatile binding media (VBM), principally cyclododecane (CDD). Combining invited and submitted papers and posters, participants came from Europe, the United Kingdom, and the United States. Attendees were presented with critical reviews of use; current research; and case studies from a broad range of conservation disciplines. The conference began with an overview presented by the organizers, “Subliming surfaces: the first 20 years.” The program was then divided into sections.
Reviews of VBM’s in practice featured:
- case studies of use (mainly CDD) in archaeological fieldwork;
- the cleaning of fossil vertebrates;
- wall painting and fresco conservation;
- easel painting consolidation;
- textiles, book and paper conservation;
- archaeological ceramics desalination;
- and the mounting of sensors in historic buildings.
VBM’s under scrutiny discussed:
- chemical purity;
- the sublimation rate and its relation to paper characteristics;
- the consolidation of ceramics to be desalinated;
- longterm use in archaeological contexts,
- and as an enhancement for tetrahertz imaging of frescoes.
Many presentations raised questions of health, safety, and environmental concerns, and the talks presented in this well attended section generated much discussion. The speakers pointed out CDD’s low persistence in the environment, the difficulty of bioaccumulation sufficient to be a hazard, lack of mutagenic or eco-toxic effect, and lack of toxicity to humans. Nevertheless, the conservative nature of, well, conservators, caused many to remain concerned about possible risk, particularly due to fairly relaxed suggestions regarding personal protective equipment (PPE) and ventilation.
The poster presentation, containing many worthy presentations, was well attended. Highlights of the conference were its meticulous organization and the determination of the organizers, Christina Rozeik and Sophie Rowe, who made sure there were generous opportunities for questions and discussion between talks as well as extended conversations throughout the day, at meals and during breaks.
Standouts were guest lecturers Hans Hangleiter and Leonie Saltzmann, who presented “20 years of Volatile Binding Media.” Hangleiter was part of the original German group which first developed the use of volatile binding media in conservation in the early 1990s. They discussed these origins, less well-known alternatives to cyclododecane, and ingenious uses for these materials that they have developed in their conservation practice. The lecture was followed by a reception in the Fitzwilliam Museum and private view of the exhibition, Treasured Possessions from the Renaissance to the Enlightenment. The conference concluded on Friday with conservation lab tours and a half-day practical workshop on the use of cyclododecane and other VBM’s. The workshop was so well attended that an additional session was added to meet the demand. Participants had the opportunity to try cyclododecane with a variety of tools in a range of situations across conservation disciplines. Afterwards, experiences were shared at a cozy wrap-up session over tea. Altogether, this was one of the most practically useful and well-organized conferences I’ve attended. The collected postprints will be presented in an online publication, and should prove to be essential reading for conservators from many disciplines.
For addition information on CDD and Volatile Binding Media visit the AIC wiki page.
ENGAGING CONSERVATION: COLLABORATION ACROSS DISCIPLINES
Penn Museum Symposium
6-8 October 2016
Call for papers and posters – Deadline: 4 April 2016
The Conservation Department of the University of Pennsylvania Museum of Archaeology and Anthropology (Penn Museum) is celebrating its 50th anniversary in the fall of 2016. To commemorate the establishment of the lab, the Penn Museum is hosting a symposium on issues relating to archaeology, anthropology, and conservation. The symposium will explore how conservation of these materials has evolved over the past half century, the ways in which conservators may inform and support the work of archaeologists and anthropologists, and the development of cross-disciplinary engagement.
Professionals in archaeology, anthropology, or conservation are encouraged to submit abstracts (300 word limit) to conservation@pennmuseum.org by 4 April 2016 for consideration. Presentations will be 20 minutes. Funds toward travel and lodging are available for speakers. Successful applicants will be required to submit the full text and presentation by 30 September 2016. A resulting peer-reviewed publication is planned. Please visit http://penn.museum/loveconservation/ for further guidelines and instructions.
Recommended topics to consider, though others are welcome, include:
- History of archaeological or anthropological conservation, particularly in university museums
- Facilitating collaboration between conservators and archaeologists or anthropologists, or other interested parties
- Planning for conservation in the development of an excavation plan, including funding conservation in the field
- Education and training
- Treatment techniques
- Analysis of materials
In addition to full-length papers, we also invite short-format submissions on topics listed above as well as those related to practical tips and techniques, insights, or questions relating to the symposium theme. Please submit abstracts (300 word limit) to conservation@pennmuseum.org by 4 April 2016 for consideration. These submissions are limited to 5 minutes or less, and an informal approach is appropriate. Successful short-format applicants will be required to submit a digital copy by 30 September 2016 and will be included in the publication following the same guidelines as the full-length papers.
Accepting Applications: San Gemini Preservation Studies Program (San Gemini, Italy)
The San Gemini Preservation Studies Program is currently accepting applications for our summer 2016 field school. The San Gemini Preservation Studies Program, now in its 18th year, dedicated to the preservation of cultural heritage and offering students the opportunity to study and travel in Italy. Our deadline for applications is March 15, 2016.
Session One (May 30 – June 24)
Building Restoration – Touching the Stones*
Restoration of Traditional Masonry Buildings in Italy
Sketching and Analyzing Historic Buildings
Archaeological Ceramics Restoration
Analysis of Archaeological Ceramics in Italy
Restoration of Archaeological Ceramics
Book Bindings Restoration
The Craft of Making and Restoration Book Bindings
Introduction to the History and Craft of Book Bindings
Session Two (July 11 – August 5)
Paper Restoration
Restoration and Conservation of Paper Media
Paper Restoration Workshop
Traditional Painting Restoration
Traditional Materials, Methods of Painting and Art Restoration Issues
Traditional Painting Workshop
Restoration Theory, Ethics and Issues
*Field Projects:
Restoration of the façade of the church of San Carlo (13th century)
Analysis of medieval buildings in San Gemini as part of an urban study of the city
Intersession Programs (June 25 – July 8):
Intersession Field Trip – Italy (June 26 – July 5)
A ten day trip visiting Siena, Florence and Rome: places of cultural interest, the urban and historical development of each town, and specialized visits to places of interest to restorers.
Intersession Field Trip – Athens (check-in Saturday, June 27 – check-out Friday, July 8)
A twelve day visit of Athens: an exploration of the history of preservation and conservation issues facing the city led by some of the top Athenian experts in their field.
Intersession Program – The History of Food in Italy (June 27 – July 8)
A two week course giving an overview of the evolution of the food system in Italy. The course will include morning lectures and an experimental cooking workshop.
To find out more about our program and review the syllabi, please visit our www.sangeministudies.org.
Our courses are open to students from various disciplines, both undergraduate and graduate. All lessons are taught in English.
Archaeological Institute of America 2013-2014 Conservation Workshop Summaries and Proceedings Now Available Online
We are very pleased to announce that summaries of two interdisciplinary workshops on the integration of conservation and archaeology are now available on the website of the Archaeological Institute of America at https://archaeological.org/sitepreservation/hca
The publications include full transcripts of the panel presentations and panel discussions, as well as summaries of the key points of both workshops. The workshops were organized by conservators Claudia Chemello, Thomas Roby, Steve Koob and Alice Boccia Paterakis, and were presented in 2013 and 2014 at the AIA’s annual meeting.
The 2013 workshop Integrating Conservation and Archaeology: Exploration of Best Practices brought together conservators and archaeologists for a dialogue about the integration of conservation and field archaeology. Panelists shared their experiences on what constitutes responsible conservation, preservation, and stewardship of archaeological resources. The panel discussed moveable and immoveable cultural heritage, including terrestrial and maritime archaeological sites.
Panelists were C. Brian Rose, University of Pennsylvania Museum of Archaeology and Anthropology, Giorgio Buccellati, Cotsen Institute of Archaeology, University of Los Angeles, Matthew Adams, Institute of Fine Arts, New York University, Robert Neyland, Underwater Archaeology Branch, U.S. Navy, Alice Boccia Paterakis, Japanese Institute of Anatolian Archaeology, Kaman-Kalehöyük, Kırşehir, Turkey, Paul Mardikian, H.L. Hunley Project, Clemson University, and Thomas Roby, Getty Conservation Institute.
The 2014 workshop Interdisciplinary Studies: Archaeology and Conservation comprised archaeologists and conservators heavily involved in educational efforts in their respective disciplines and discussed the subject of the cross-education of both fields and the need for interdisciplinary studies.
Panelists were C. Brian Rose, University of Pennsylvania Museum of Archaeology and Anthropology University of Pennsylvania, Frank Matero, University of Pennsylvania, John Papadopoulos, Cotsen Institute of Archaeology, University of California Los Angeles, Ioanna Kakoulli, UCLA/Getty Program on the Conservation of Archaeological and Ethnographic Materials & Materials Science and Engineering Department, Kent Severson, Shangri La Center for Islamic Arts and Cultures, Christopher Ratté, University of Michigan, John Merkel, University College London, and Elizabeth Pye, University College London.
We gratefully acknowledge our workshop sponsors: the AIA Conservation and Site Preservation Committee, the Getty Conservation Institute, and the American Institute for Conservation of Historic and Artistic Works (2013). The GCI also provided support for panelist travel and the production of the transcripts of the workshop proceedings
Posted on behalf of Claudia Chemello, Thomas Roby, Steve Koob, and Alice Paterakis
This post is promoted by the AIC’s Archaeological Discussion Group (ADG). For more information about ADG, please visit ADG’s webpage.” (http://www.conservation-us.org/specialty-groups/objects/archaeological-discussion-group )
AIA and SCS 2016 Annual Conference – A Conservator's Perspective
The Archaeological Institute of America (AIA) and the Society for Classical Studies (SCS) recently held its annual conference on January 6-9, 2016 in San Francisco (conference program). This was my first time attending an AIA annual meeting. Although the conference was obviously geared towards archaeologists, I did find many of the sessions useful for conservators. The talks and workshops were generally organized by geographic location, time period, or specialized topics. Additional activities were organized by specific graduate programs or archaeological projects.
The conference began with the AIA public lecture given by Professor Lord Colin Renfew and the opening reception. The talk touched on some of the troubling world events that are currently affecting cultural heritage sites and some of his work on the island of Keros. The presentation was very well attended (standing room only of those who did not show up early). The opening reception immediately following the public lecture was a time when people could informally gather and discuss their work.
The AIA meeting had many different sessions running simultaneously and I had to strategically choose the talks I wanted to attend. I tried to go to all the presentations about archaeology sites that I had done fieldwork. I was interested to see how the material was presented to a specialized audience of archaeologists and to support my colleagues. I also attended several technical sessions such as archaeological photogrammetry and archaeometric approaches to the Bronze Age.
One of the themes that was touched on in many of the talks was addressing the current threat to cultural heritage in zones of conflict. There was a specialized workshop on the topic that brought leading experts to discuss not only the extent of destruction but the role of the international cultural heritage community. While overall these were sobering discussions, there were a few ideas that have the potential to be actualized and could possibly make a noticeable difference. Many organizations are working to document the damage using local reports and remote sensing in the hopes that the data could be of legal use for future war crime prosecutions. There was also the suggestion that resources should be allocated to reflect the racketeering cycle to have the maximum affect.
On Saturday morning, there was a special workshop entitled Innovation at the Junction of Conservation and Archaeology: Collaborative Technical Research moderated by Anna Serotta and Vanessa Muros. Below are the four talks presented during the session.
- “Looking Closely: Microscopy in the Field” – Colleen O’Shea and Jacob Bongers
- “Archaeologist-Conservator Collaboration through Imaging: Reflectance Transformation Imaging (RTI) on the Sardis Expedition, Turkey 2015” – Emily Frank, Harral DeBauche, and Nicholas Cahill
- “Same Data, Targeted Uses: Site Photogrammetry for Archaeologists and Conservators” – Eve Mayberger, Jessica Walthew, Alison Hight, David Scahill, and Anna Serotta
- “Drilling, Zapping, and Mapping for more than a Decade: Collaborative Project to Source Classical Marble in the Carlos Museum” – Renée Stein and Robert Tykot
I was honored to co-present the collaborative work undertaken at Selinunte during the 2015 excavation season. Following the talks, there was a general discussion regarding the role of conservation in fieldwork and the specialized knowledge that conservators can contribute to archaeological research questions. I hope that the AIA will continue to allow a space for conservation to engage with the larger archaeological community within the context of their annual meeting.
C2CC Webinar 2/9: Reframing the Problem: Caring for Framed Objects in Small Institutions (aka: On a Budget)
Do you have a stash of framed objects and old frames and don’t know what to do with them? Join our next webinar, “Reframing the Problem: Caring for Framed Objects in Small Institutions (aka: On a Budget),” Tuesday, 2/9, 2 p.m. ET. This webinar will focus on the ways that smaller institutions can care for frames and their contents safely and economically. It’s free!
Sign up: http://www.connectingtocollections.org/reframing-the-problem-caring-for-framed-objects-in-small-institutions-aka-on-a-budget/
Connecting to Collections Care (www.connectingtocollections.org), a program of the Foundation of the American Institute for Conservation, provides free training and resources to help smaller cultural institutions take better care of their collections.
HISTORIC AND MODERN ASSEMBLAGES: TREATMENTS OF WOOD BASED MULTIMEDIA ARTWORKS/INTERIORS IN CONTEXT
Joint Interim Conference of the ICOM-CC Working Groups: Wood, Furniture, and Lacquer and Sculpture, Polychromy, and Architectural Decoration, kindly supported by the German Association of Conservator-Restorers (VDR) Specialty Group: Furniture and Wooden Artifacts.
Hosted in collaboration with the University of Applied Sciences Potsdam
Access the conference website
Date: 8-10 April, 2016
Location: University of Applied Sciences Potsdam, Potsdam, Germany
Set within the historic gardens and palaces of Potsdam, this conference will focus on site-specific wooden works of art of a composite nature. Included in this broad theme are the exploration of the purpose and the complex means used to create these works consisting of multiple elements and mixed materials as well as the conservation strategies designed to preserve and display them.
This three-day conference will bring together an international roster of conservators, art historians, conservation scientists, and artists to share new research, past experiences, and their specific and varied expertise.
The conference will be divided into two days of presentations and followed by a day with guided tours of historic sites, museums and conservation studios. Lunch and coffee breaks will be accompanied by posters displayed in the main hall.
Presentations will focus in sessions on the following themes:
– Assemblages in-situ: Architectural interiors
– Conservation in-situ: Methods and challenges
– Assemblages set in the museum context: Western, non-western and religious
– Innovative techniques for documentation, conservation technology and analysis
The conference will be held in English
Program
Friday April 8th
SESSION 1: ASSEMBLAGES – HISTORICAL APPROACH
Keynote lecture – Speaker TBD
The paradise bed & the painted chamber of Westminster Palace c.1486
Helen Hughes
Charlemont medal cabinet (1767-68) designed by Sir William Chambers: A consideration of its past and future
Paul Tear
Conservation and recreation: The restoration of Sir John Soane’s private apartments at 13 Lincoln’s Inn Fields
Helen Dorey, Lyall Thow, Jane Wilkinson
Tegel Palace (1822-1826): A unique survival of the interiors designed by Karl Friedrich Schinkel for Wilhelm von Humboldt
Martina Abri, Jörg Weber
SESSION 2: CONSERVATION IN SITU – METHODS AND CHALLENGES
The hall of catalogues and the hall of globes: The laser scanner survey and data collection of two complex 19th century libraries located within the Accademia delle Scienze, Turin
Stefania de Blasi
The Junkerhaus (1850-1912), Lemgo – An exposed wooden house and its contents: A review of the preventative conservation measures installed in 2001-2004
Norbert Grote
The Eremitage of the Neuer Garten in Potsdam: Investigation of the interior panelling and the original appearance
Gerald Grajcarek
SESSION 3: DOCUMENTATION, TECHNOLOGY AND ANALYSIS
Modern methods of documentation for conservation: Photogrammetric evaluation of historic recordings
Gunnar Siedler, Sebastian Vetter
The scientific investigation of 18th and 19th polychrome furniture from the collections of the House of Esterházy, at Esterhazy Castle, used to inform conservation-restoration decisions
Sabine Stanek, Martina Griesser, Václav Pitthard, Susanne Kaefer, Florian T. Bayer
Capturing the history of finishes: A documentation tool for architectural paint research
Edwin Verweij and David Edvardson
Choir stalls (1537) from Transylvania: A conservation challenge saving every millimetre – the use of 3D laser scanners and digital techniques for their reconstruction
Gerdi Maierbacher-Legl, Christine Fiedler, Gunar Grossmann
SOCIAL EVENT IN THE EVENING
Saturday April 9th
SESSION 4: MUSEUM PRESENTATIONS – WESTERN ASSEMBLAGES
A rococo room from a Grachtenhuis in Amsterdam (1743-1748) in the Rijksmuseum: The reinstallation of the original fittings – and a streak of sunlight
Paul van Duin
The Bernstorff Suite at The Metropolitan Museum of Art: Its presentation and interpretation from the 18th to the 21st Century
Cynthia Moyer
The Period Rooms in the Swiss National Museum, Zurich: The 1898 installations conserved and reinstalled
Gaby Petrak
Building Backwards: Ornament defines structure in the installation of the Worsham-Rockefeller bedroom (1881) at the Virginia Museum of Fine Arts
F. Carey Howlett
“Are you still cooking or already eating?” – The reinstallation of a Frankfurt kitchen (1926-1931) provides a new understanding of built-in furniture of the period
Christian Dressen
SESSION 5: MUSEUM PRESENTATIONS – NON-WESTERN ASSEMBLAGES
Petioles, paint and steel: The conservation and re-installation of the Mariwai Village Kwoma ceremonial house ceiling at the Metropolitan Museum of Art, 2007
Beth Edelstein, Christine Giuntini
The Alhambra Cupola in the Museum of Islamic Art in Berlin:The history of a 14th century wooden ceiling, current conservation challenges and new prospects for a Nasrid masterpiece
Julia Gonnella, Anne Mollenhauer, Jutta Maria Schwed
Ornate panels from 18th and 19th century Damascene ʿajamī interiors: Conservation issues and Western perceptions of the ‘Orient’ revealed
Anke Scharrahs
SESSION 6: RELIGIOUS ASSEMBLAGES
Three Baroque Altarpieces in the Church of Our Lady in Aarschot (Belgium): Insights into the working methods of Antwerp sculptor and designer Pieter Scheemaeckers
Ingrid Geelen
The investigation and treatment of a 17th century wooden Jain Shrine (house-temple) from Gujarat, Western India
Part 1. Context
Part 2. Treatment
Kathleen M. Garland, Kimberly Masteller, John Twilley, Cathleen Duffy
Q&A AND CLOSING REMARKS
Sunday April 10th
TOURS
Several post-conference tours will be offered to allow participants to explore museum collections and conservation projects in Potsdam and Berlin.